Cover Feature

John-Paul Buzard Pipe Organ Builders, Champaign, Illinois

Opus 31: St. Bede Catholic Church, Williamsburg, Virginia

This new instrument was just installed this spring, the tonal finishing completed during April and June. This is the 31st new pipe organ built by John-Paul Buzard Pipe Organ Builders of Champaign, Illinois, and
the first of two new Buzard organs to be installed in Williamsburg churches. Williamsburg Presbyterian Church will receive Opus 32 next spring for their new Georgian style building at the entrance to Colonial Williamsburg.

The organ at St. Bede Catholic Church is the result of eight
years of planning and dreaming, hoping and praying. St. Bede’s
communicant strength is about 3,000 families, formerly located in a small
landlocked building close to Colonial Williamsburg. The former site simply could not accommodate the parish’s phenomenal growth, nor could the entire parish worship together. When planning the new building, St. Bede’s pastor, the Rev. Monsignor William Carr, insisted that the new
church include a pipe organ, and that the organbuilder be commissioned to work with the architect from the beginning. The new building, designed by architect Tom Kerns, seats 1,500 and is expandable to seat 2,000.

The then music director, and later consultant for the project, Steve Blackstock, formed a musical instruments committee to select the
organbuilder, as well as other musical instruments for purchase. The musical instruments committee directly communicated with the parish’s building committee (called the core committee) as the new building was planned, to make sure that the organ’s requirements were supported throughout the process.

Even though this church is not located in the Colonial District, there was great concern on the part of the core committee that the building relate to the area’s Georgian architecture--no small feat for a big round room--and that, since the organ case would be the significant visual element in the church, it must reflect appropriate features of Georgian design. A great emphasis was placed on the importance of art and
music as direct participants in liturgical expression, and the organ had to
appeal to all the senses in this surprisingly intimate--although rather
large--space. 

As the building’s design process unfolded, and the cost estimates exceeded projections, significant “value engineering” of the building was undertaken to allow the church to be built. The organ project was shelved and its estimated cost applied toward the building. It became apparent that an organ, whenever it would be installed, would need a small antiphonal division at the opposite end of the church to assist in congregational singing, due to a change in building materials.
Certain stops in the organ were prepared for future addition, to lower the
initial price. The music personnel changed, and the parish concentrated upon building the church. 

Once the building was up, Monsignor Carr’s passion for building the new pipe organ was rekindled. His love of fine art and artistic liturgical expression is infectious. It was through his inner fire that he established the notion in the minds of the parishioners that the church was simply not finished until the pipe organ was installed. Although at the time the church did not have an organist, our contract was signed the week following
the new building’s dedication. 

As the organ’s installation date approached, the parish hired organist Neil Kraft of Ohio to be their new director of music. He has already established himself in the Tidewater area as a musician of high
caliber, and the perfect person to develop an inclusive parochial music
program, with the organ as the principal musical instrument. A concert series to celebrate the dedication of this new instrument is being organized. The opening recital was played by Erik Wm. Suter on Sunday, September 30, and John Scott will play in June of 2006. The church is working on sponsorship of a concert featuring the Virginia Symphony, but this is currently in the planning stage. The new pastor, the Rev. John Abe, is committed to making St. Bede known for beautiful music, both in liturgical and concert contexts, for Williamsburg and the greater Tidewater area.

The organ case stands three stories tall and is made of 11/2-inch thick solid white oak and white oak veneers. Walnut is used for the pipe shades and accenting trim details. This is truly heroic cabinet making! The façades incorporate pipes of the Great 16’ Double Open
Diapason (the low 20 notes of which are shared in the pedal), the Great First and Second 8’ Open Diapasons, and the Pedal 8’ Principal. The
16’ Pedal First Open Diapason of wood stands behind the organ case and is stained and finished in a dark walnut color. Resonators of the low octaves of the Pedal 32’ and 16’ Trombones are made of beautiful, clear pine, continuing upscale in thick 52% tin pipe metal as this stop becomes the manual Tromba, voiced on 7” wind. The big Tuba stands vertically in the Choir box just behind the shutters, and is certainly the Tromba’s big brother, being voiced on nearly 30” pressure!

The Procession Organ’s case is also of white oak, to match the Main Organ case. Its pipe shades are carved basswood. Celtic crosses
have been cut into the tower tops and are enameled in rich, dark purple (the manufacturer’s color name “Monsignor” led to the whimsical
decision to incorporate it into the case in honor of Monsignor Carr), and
outlined in gold leaf. When played with the Main Organ, the Processional
Organ’s two Principal stops have the effect of “pulling” the sound out of the Main Organ’s case and surrounding the listeners with an
incredibly inescapable, voluptuous tone.

The console of 11/2-inch thick white oak is attached to an easily moved platform. And it’s a good thing, because the organ is heard in its best balance starting about 15 feet away from the case. We utilize
AGO radiating, concave pedalboards for their superior ergonomics. In a modern, eclectic pipe organ, the pedalboard’s shape should not limit an
organist’s ability to play in styles other than that which a flat pedalboard
dictates.

Those who have followed our work know that our instruments
are liturgical organs that play literature remarkably well. Our style is in
direct response to the need for an organ to function liturgically and
musically, but not at the expense of a particular historical, national, or
idiosyncratic musical style. Only a classic concept of organbuilding can truly accomplish this, and I think only an organist-trained organbuilder has the ability to empathize with modern American musical requirements, reconcile these to classic organbuilding practices, and know how to achieve the intended results. 

Slider windchests keep the tonal design physically honest,
and offer speech, voicing, and tuning advantages (as well as virtually no
long-term maintenance). Our proprietary Slider Pedal Chest allows us to play a single rank of pedal pipes at several pitches--without giving up slider chest speech, tuning stability, and repetition characteristics. Because they’re pedal stops, and usually only one note is played at a time, we can scale these individual ranks to be appropriate for two or three tonal contexts and save the client some money. 

Although we were one of the first American organbuilders to
reintroduce the Tuba into modern practice, in 1991 at the Chapel of St. John the Divine in Champaign, our tonal innovations are often of a subtler (and quieter) nature.  For example, in this organ we have specially developed Dolcan-shaped pipes for the metal top octaves of open wood ranks; they sound like wood pipes, but stay in tune. We have perfected Walter Holtkamp’s Ludwigtone as our Flute Cœlestis, its plaintive and gentle celesting tone evocative of something heavenly, which
explains the pun in the nomenclature. We have refined the 18th-century French Flûte à Bibéron (“Baby-Bottle Flute”) to be a colorful chimney flute tone suitable for solos, the foundation of a flute chorus, or secondary foundation for a principal chorus.

The sound of the organ is warm and rich, filling the space
nicely with a generous foundation. Each chorus has its own distinctive color, so there is no redundancy within each family of sound. The organist is able to lead congregational singing with a wide variety of color, at many different volume levels. And, recitalists won’t be disappointed in the tonal
resources and the informed manner of their disposition and execution. 

Everyone seems to have found “favorite” stops in this instrument. Of course the Pontifical Trumpets titillate the eye and ear, and most visitors want to hear them right off the bat. However, my 16-year-old son Stephen, already an organist of greater accomplishment than his father, fell in love with the Choir 8’ English Open Diapason while preparing a recital for the Tidewater POE held last June. “It has something to tell you,” he says. What higher compliment can an organbuilder receive? After all, shouldn’t pipe organs have a strong emotional appeal, so that when played they grab you and don’t let go? yes"> 

Henry Willis once said that truly great organs are only created when 90% of the project’s effort is expended upon the last 2% of perfection. After the organ is built, installed, and voiced, it’s that last step of careful, time-consuming, painstaking tonal finishing that imparts a living soul into the instrument. That you feel “connected” while listening or playing is no happy accident, but the result of careful listening and exacting craftsmanship on the part of the voicer working on the pipes. It is only when one is working at this level that organbuilding is truly an art.
And, it is only when clients have the sensitivity and sensibility to know the
difference that truly world-class pipe organs are commissioned.
style="mso-spacerun: yes"> 

It has been a tremendous honor to build this instrument, and
to work with Father Abe, Monsignor Carr, Steve Blackstock, Neil Kraft, and the wonderful people at St. Bede’s Church. We look forward to many years of wonderful music-making and musically inspired liturgies at St. Bede’s.

Deepest thanks to the staff of Buzard Pipe Organ Builders who have made this instrument so much more than the sum of its parts:

Charles Eames, executive vice-president, chief engineer,
general manager

Brian K. Davis, associate tonal director, head voicer, director, tonal department

Phillip S. Campbell, business manager

Keith Williams, director, service department

Shayne Tippett, shop manager

Stuart Martin, cabinet maker

C. Robert Leech, cabinet maker

Bob Ference, cabinet maker and service technician

Lyoshia Svinarski, wind system construction

Kenneth McCabe, wind system construction

Ray Wiggs, console, electrical systems, wind chest
construction

Evan Rench, pipe maker, voicer, racking, tonal associate

Stephen P. Downes, pipe preparation, racking, tonal
associate

Todd Wilson, service technician, installation

Stuart Weber, service technician

Jay K. Salmon, office manager

JoAnne Rench, receptionist

--John-Paul Buzard

43 straight speaking stops, 54 ranks, across three manuals
& pedal

GREAT ORGAN (4” wind)

16’ Double Open Diapason (tin in façade)

8’ First Open Diapason (tin in façade)

8’ Second Open Diapason (1–8 from 16’)

8’ Viola da Gamba (tin)

8’ Claribel Flute (open wood)

4’ Principal

4’ Spire Flute

22/3’ Twelfth

2’ Fifteenth

13/5’ Seventeenth

2’ Fourniture V

V Cornet (tenor C, preparation)

8’ Trumpet (preparation)

8’ Tromba (Ped)

4’ Clarion (from Tromba)

8’ Major Tuba (in case)

8’ Tuba Solo (melody coupler function)

8’ Pontifical Trumpets (polished copper, horizontal,
over entry door)

SWELL (4” wind)

8’ Violin Diapason

8’ Stopped Diapason (wood)

8’ Salicional

8’ Voix Celeste

4’ Principal

4’ Harmonic Flute

2’ Octavin

22/3’ Full Mixture V

16’ Bassoon (full length)

8’ Trompette

8’ Oboe

4’ Clarion

Tremulant

8’ Major Tuba (Ch)

8’ Pontifical Trumpets

CHOIR ORGAN (4” wind)

16’ Lieblich Gedeckt

8’ English Diapason

8’ Flûte à Bibéron

8’ Flute Cœlestis (doubled open wood)

4’ Principal

4’ Suabe Flute (open wood)

22/3’ Nazard

2’ Recorder

13/5’ Tierce

11/3’ Mixture IV

16’ English Horn (preparation)

8’ Clarinet

Tremulant

Cymbalstern

8’ Major Tuba (30” wind)

8’ Pontifical Trumpets (51/2” wind)

PROCESSIONAL ORGAN

(4” wind, housed in a case over the entry doors)

8’ Open Diapason (tin in façade)

4’ Principal

PEDAL (various pressures)

32’ Double Open Diapason (1–12 digital)

32’ Subbass (1–12 digital)

32’ Lieblich Gedeckt (1–12 digital)

16’ First Open Diapason (open wood)

16’ Second Open Diapason (Gt, tin-façade)

16’ Bourdon

16’ Lieblich Gedeckt (Ch)

8’ Principal (tin-façade)

8’ Bass Flute (ext 1st Open)

8’ Bourdon (ext 16’)

8’ Gedeckt Flute (Ch)

8’ Spire Flute (preparation)

4’ Choral Bass (ext 8’)

4’ Open Flute (ext yes">  8’ Bourdon)

32’ Contra Trombone (from 16’, wood)

16’ Trombone (wood)

16’ Bassoon (Sw)

8’ Trumpet (from 16’)

4’ Clarion (from 8’)

8’ Major Tuba (Gt)

8’ Pontifical Trumpets

The organ has a full set of inter- and intra-manual couplers. These have been omitted from this specification for brevity and ease of reading.

New Organs

Martin Ott Pipe Organ Company, Inc., St. Louis, Missouri

First United Methodist Church, Jackson, Michigan

From the organ builder:

In 1996, I was contacted by the First United Methodist Church in Jackson,
Michigan about their desire to hear and examine one of our instruments. We
arranged to meet with representatives of their organ study committee and
consultant Dr. Albert Bolitho at St. John's Lutheran Church in Decatur,
Illinois, where we had just finished the installation of a three-manual organ.
A few weeks later, I was invited to come to Jackson and inspect their 1922
Austin organ. It became apparent that multiple repairs in recent years had not
prevented the ongoing decay of this instrument and that it was doomed to fail
within a short time. The organ study committee engaged in many lengthy
discussions and much soul searching before determining that their organ must be
replaced. Subsequently, I was asked to prepare a proposal for a new instrument.
Further study by the committee brought about a recommendation to the
congregation for a renovation of the church sanctuary and chancel in order to
enhance their worship space and provide an optimum setting for the proposed new
organ. On November 22, 1998, my firm received the commission to build a new
organ for the First United Methodist Church.

1. Casework

The free-standing organ case is based on classic European design and
complements the existing Gothic Revival architecture of the 1870 sanctuary.
This attractive neo-Gothic styled organ case, made out of stained oak,
complements the furnishings of the sanctuary. The case blends and focuses the
organ sound into the room. The Violon 16' and Principal 8' pipes, made from
polished tin, are located in the fa?ßade. The height of the tallest pipe in the
fa?ßade is approximately 20 feet. The Great and Pedal divisions are unenclosed
while the Swell and Choir divisions are under expression. The Great and Pedal
divisions are at the same elevation as the fa?ßade pipes. The Choir division is
located below the fa?ßade pipes of the Great division and behind the ornamental
grillework. The Swell is at the same elevation as the Great and sits behind in
its own case, flanked by the larger tin pipes of the Pedal.

2. Wind Chests

Slider chests were used for the entire organ, except for the offset chests.
Slider chests provide a cohesive sound because all pipes of the same pitch
stand above the same wind channel. Since these pipes are from different stops,
but are receiving the same wind, they are able to blend and enhance the ensemble
of the instrument. Because a choir has many voices that blend into tone sound,
church music (i.e., hymn singing, choral anthems) requires an instrument that
enhances a blending of the human voice. The slider wind chests complement
choral and congregational singing.

3. Action

The organ primarily uses electric pull-down action. Some of the larger pipe
ranks are located on offset wind chests and use electro-pneumatic action.

4. Console

The console features French-style curved terraced stop jambs in cherry wood;
it is detached from the main organ case and is movable, providing flexibility
in various arrangements of the choir and instrumentalists. The solid state,
multi-level combination action allows different organists to save their stop
combinations in separate "file folders." The console has a MIDI
interface connection. This interface can record a player's performance and give
an authentic playback as well as preserve important performances. This, too, is
also an aid for the organist in deciding the registration.

5. Tonal Design

The organ is designed to lead congregational singing, accompany the choirs,
and play the various styles of organ literature. All four pipe families
(principal, flute, string and reed) are well represented. The Great division,
with its grand principal chorus, is the foundation of the entire instrument.
The Swell division, in French style, gives a romantic attribute to the
instrument, while the Choir division provides softer accompanying stops and
solo voices. A stop of special note is the Choir's 11/7' Septime, which adds an
interesting color not available on most organs. The Dolce Celeste 8' from the
previous Austin organ was retained in the Choir.

The reed family is well represented. The Festival Trumpet 8' is mounted
horizontally to project the sound to the congregation and is the strongest reed
in the organ. The Trumpet 16' and 8' on the Great are designed to blend with
the Great principal chorus. The Swell reeds are built in the French Romantic
style. They provide color but do not stand out as much as the festival Trumpet.
The bold Krummhorn 8' and lush English Horn 8' of the Choir division are solo
stops and can be used to highlight a melody. The harmonic flutes in the Swell,
one made of cherry wood and the other in tin, provide an interesting tonal
color. Harmonic pipes are purposely overblown so that the pitch sounds an
octave higher than normal. This produces a clear, transparent sound, similar to
a transverse flute.

The Pedal and Swell divisions were installed early in 2002. The main case,
containing the Great and Choir divisions, was shipped and installed in August
of 2002. Voicing of the instrument was completed in November 2002.

The following people participated in the building of this organ:

Alexander I. Bronitsky

William Dunaway

Hans-Ulrich Erbsl??h

Eileen Gay

Donna Hodges

Alex D. Leshchenko

Richard Murphy

Earl C. Naylor

Martin Ott

Sascha Ott

Jeff Spitler.

We wish to express our gratitude to Timothy Meunier, director of music
ministries, organists Brian Buehler and Laurie Meunier, the members of the
organ building/sanctuary renovation committee and its chairman Earl Poleski,
Rev. Ed Ross and the members of the First United Methodist Church for awarding
us this commission and creating a fine environment for this instrument. We
especially thank Dr. Albert Bolitho for facilitating the organ building
process. His consultation, suggestions and support were most helpful. Having
worked with him previously on the organ for First Congregational Church in
Battle Creek, we were happy to work with him again.

Extensive electrical wiring in the organ was completed by our colleague Dick
Houghten. We are thankful that he could be a part of this project. Acoustician
Scott Riedel and architect Lincoln Poley contributed to the success of this
organ.

--Martin Ott

From the organ consultant:

It has been a pleasure to work with the organ committee and building
committee throughout the planning and decision process that has led to the selection
of this wonderful new pipe organ. The people on the committee were very
conscientious and they dedicated countless hours in study and discussion, not
to mention trips to visit organs in other churches.

Preliminary discussions centered upon evaluating the old 1922 Austin,
acoustics of the church, placement of choirs and liturgical appearance of the
chancel, and future musical needs of the church. From these discussions a
"vision" for the future was developed that concentrated upon the organ
but also included acoustics and liturgical architecture. The committee began
serious study of organ construction and design. After several visits to other
churches and listening to many pipe organs, the committee requested selected
builders to bid on a carefully designed three-manual specification. After much
serious thought, the committee unanimously recommended that Martin Ott be
selected to build the new organ.

The new organ was designed principally to be a liturgical instrument. As
such, it has a full complement of tonal resources to lead congregational
singing, accompany voices or instruments and to play solo organ literature. Two
very quiet stops noted for their ethereal sound were retained from the old
organ to provide for meditative moments. There are beautiful flutes throughout
all divisions of the organ; some are bass flutes and used in the Pedal, some
are on the manuals to be used as solo voices or for accompaniments, and some
are pitched very high near the limits of human hearing. The organ has an abundance
of reed voices; some are colorful stops for solo effects, such as the Krummhorn
and English Horn on the Choir division or the Hautbois on the Swell division.
Some are ensemble voices used to provide rich timbre, such as the 16' or 8'
Trumpet on the Great division or the Bombarde, Trompette and Clairon on the
Swell division. The 16' Trombone in the Pedal division provides a sturdy bass
for the whole organ. For the discriminating organist, there is a complete
Principal chorus on each manual and a complete Principal chorus for the Pedal
division.

The organ boasts some unique features such as a high-pitched 11/7' Septime
on the Choir division, Cornet combinations located on the Choir and Swell
divisions and a 32' Bourdon. Crowning the entire ensemble and located at the
top of the organ behind the center tower are the horizontal pipes of the
Festival Trumpet, a stop that will find much use for congregational singing and
wedding processions.

The fa?ßade of the organ was designed to architecturally complement the
hammer beam ceiling and other woodwork in the sanctuary. Its artistic design
and impressive appearance accentuate the height and grandeur of the room and
also demonstrate the craftsmanship of the Martin Ott organ firm. The console,
with its elegant keyboards and wood finish, incorporates solid state switching
that enables the organist to change registrations quickly. Stops are placed on
either side of the keyboards, thus making it possible for the console to have a
low profile.

The instrument is a distinguished addition to other significant organs in
Michigan and surrounding states and will undoubtedly attract considerable
attention among churches, organ aficionados and organists. Truly the church has
been blessed with a beautiful instrument that will enhance worship both now and
far into the future.

--Dr. Albert Bolitho

History of the Pipe Organs at First United Methodist Church

In 1869, prior to the completion of the present sanctuary, the congregation
of the Jackson Methodist Episcopal Church contracted with the J.H. & C.S.
Odell organbuilders of New York to build an organ for the new church. The new
organ, Opus No. 86, was shipped to Jackson in early February 1870 and installed
in time for the church dedication on Sunday, February 13, 1870. On the following
Saturday, February 19, the congregation hosted a dedicatory recital played by
Elihu Cooley, Esquire. The organ was a mechanical action one-manual instrument
consisting of 12 stops and was housed in a handsome Gothic Revival case with
stenciled pipes. The cost of the organ was assumed by the church's Ladies'
Society. This organ faithfully served the growing congregation for the next 51
years.

In 1921, the congregation embarked on a major renovation and expansion of
the church facilities. Along with a remodeled chancel and choir loft, the
sanctuary was expanded to the north with the addition of a larger balcony. The
Odell organ was replaced with a new electro-pneumatic action instrument built
by the Austin Organ Company of Hartford, Connecticut. The Austin organ, Opus
No. 1043, consisted of 3 manuals and 29 ranks of pipes. The organ was dedicated
on October 12, 1922 with a recital by Francis Mackay, organist of St. Paul's
Cathedral, Detroit. In later years, chimes were added to the organ and in 1973
the Austin firm revoiced the instrument with the addition of 7 new ranks of
pipes and replacement of most 1922 pipework. This organ was sold to the Temple
Organ Company in January 2001.

Unless indicated otherwise, photos are by John Woodring (copyright © John
Woodring Photography), member, National Press Photographers Association and
Professional Photographers of Michigan.

Martin Ott Opus 97

First United Methodist Church,

Jackson, Michigan

61 ranks, 56 stops

GREAT

16'           Violon*
style='mso-tab-count:1'> 61            75%
tin

8'              Principal
               61
style='mso-tab-count:1'>            75%
tin

8'              Violon
(ext)*       12
style='mso-tab-count:1'>            75%
tin

8'              Chimney
Flute   61            40%
tin

4'              Octave
                  61
style='mso-tab-count:1'>            75%
tin

4'              Spire
Flute           61
style='mso-tab-count:1'>            40%
tin

22/3'       Twelfth
61            75%
tin

2'              Fifteenth
               61
style='mso-tab-count:1'>            75%
tin

11/3'       Mixture
IV‚ÄìVI   330         75% tin

16'           Trumpet*
style='mso-tab-count:1'>               61
style='mso-tab-count:1'>            75%
tin

8'              Festival
Trumpet*             61
style='mso-tab-count:1'>            75%
tin

8'              Trumpet
style='mso-tab-count:1'>                 61
style='mso-tab-count:1'>            75%
tin

                  Chimes

                  Zimbelstern

SWELL (Enclosed)

16'           Bourdon*
(ext)  12            oak

8'              Bourdon*
style='mso-tab-count:1'>              61
style='mso-tab-count:1'>            40%
tin

8'              Fl?ªte
Harmonic                   61
style='mso-tab-count:1'>            cherry

8'              Viol
di Gamba   61            75%
tin

8'              Voix
Celeste (TC)             49
style='mso-tab-count:1'>            75%
tin

4'              Principal
               61
style='mso-tab-count:1'>            60%
tin

4'              Fl?ªte
Harmonic                   61
style='mso-tab-count:1'>            40%
tin

22/3'       Nazard
61            75%
tin

2'              Nachthorn
style='mso-tab-count:1'>            61
style='mso-tab-count:1'>            40%
tin

13/5'       Tierce
  61            75%
tin

2'              Mixture
IV‚ÄìV     268
style='mso-tab-count:1'>         75%
tin

16'           Bombarde*
(1‚Äì12 L/2)   61
style='mso-tab-count:1'>            75%
tin

8'              Trompette
           61
style='mso-tab-count:1'>            75%
tin

8'              Hautbois
style='mso-tab-count:1'>                61
style='mso-tab-count:1'>            75%
tin

4'              Clairon
61            75%
tin

                  Tremulant

CHOIR (Enclosed)

8'              Violin
Diapason                  61
style='mso-tab-count:1'>            75%
tin

8'              Stopped
Flute    61
style='mso-tab-count:1'>            cherry

8'              Dolce
Celeste II                110
style='mso-tab-count:1'>         Austin

4'              Principal
               61
style='mso-tab-count:1'>            75%
tin

4'              Chimney
Flute   61            40%
tin

2'              Octave
                  61
style='mso-tab-count:1'>            75%
tin

22/3'       Sesquialtera
II 112         40%
tin

11/3'       Larigot
61            40%
tin

11/7'       Septime
                61
style='mso-tab-count:1'>            40%
tin

1'              Scharff
IV             224
style='mso-tab-count:1'>         75%
tin

8'              Festival
Trumpet               (Gt)
style='mso-tab-count:1'>        

8'              Krummhorn
        61
style='mso-tab-count:1'>            75%
tin

8'              English
Horn      61
style='mso-tab-count:1'>            75%
tin

                  Tremulant

PEDAL

32'           Bourdon*
style='mso-tab-count:1'>              12
style='mso-tab-count:1'>            Austin

16'           Principal*
style='mso-tab-count:1'>              32
style='mso-tab-count:1'>            75%
tin

16'           Violon
  (Gt)

16'           Subbass*
style='mso-tab-count:1'>             32
style='mso-tab-count:1'>            Austin

16'           Bourdon
               (Sw)

8'              Octave
                  32
style='mso-tab-count:1'>            75%
tin

8'              Violon
  (Gt)

8'              Gedeckt
style='mso-tab-count:1'>                 32
style='mso-tab-count:1'>            40%
tin

8'              Bourdon
               (Sw)

4'              Octave
                  32
style='mso-tab-count:1'>            75%
tin

4'              Bourdon
               (Sw)

22/3'       Mixture
IV           128
style='mso-tab-count:1'>         75%
tin

16'           Trombone*
style='mso-tab-count:1'>          32
style='mso-tab-count:1'>            pine

16'           Bombarde
           (Sw)

8'              Trumpet
                (Gt)

4'              Clairon
(Gt)

Couplers

Swell to Great 16' & 8'

Choir to Great 8'

Swell to Choir 8'

Choir to Choir 16'

Choir Unison Off

Choir to Choir 4'

Great to Pedal 8' with reversible thumb & toe pistons

Swell to Pedal 8' with reversible thumb & toe pistons

Choir to Pedal 8' with reversible thumb & toe pistons

Choir to Pedal 4' with reversible thumb & toe pistons

*An asterisk indicates electro-pneumatic action.

Combination action with 100 levels of memory:

Gt            1-2-3-4-5-6
         thumb

Sw           1-2-3-4-5-6
         thumb

Pos         1-2-3-4-5-6
         thumb

Ped         1-2-3-4-5-6
         thumb
& toe

General                  1-2-3-4-5-6-7-8
                 thumb
& toe

Cancel thumb

Set         
style="mso-spacerun: yes"> thumb

Tutti        thumb
& toe

Accessories

Crescendo pedal

Adjustable bench (by crank) and back rest

Clock

Power indicator light

MIDI interface

Cover

Goulding & Wood, Inc.,
Indianapolis, Indiana,

Preston Hollow Presbyterian
Church, Dallas, Texas

From the organ builder

From our first contact with the committee of Preston Hollow
Presbyterian Church, we were excited about the possibility of working in
Dallas, with its rich pipe organ culture and many significant instruments. At
the same time, our focus throughout the project has been the same as with all
of our instruments, namely to provide a worshiping community with a versatile
resource that supports their music ministry. Creating a liturgically sensitive
design within the larger context of the Dallas organ community posed challenges
as well as many exciting opportunities.

Throughout the process, we were grateful for the support and
assistance of the Organ Selection Committee, chaired by Jim Watkins, and the
church music staff, including Terry Price, director of music, and Annette
Albrecht, organist. In the many conversations, visits and meals we shared, the
people of Preston Hollow Presbyterian Church became close friends, and we
continue to value their input and camaraderie.

Tonally, the organ is structured around a carefully balanced
plan of principal choruses. Each division relates to and complements the other
divisions in a terraced scheme. The Great plenum is based at 16' pitch with a
divided six-rank mixture allowing for an 8' chorus when desired. The Swell acts
in relief to the Great in a traditional Positiv-Hauptwerk manner. The higher
pitched Cymbale mixture is effective in plenum literature as well as in
coloristic effects. In contrast, the Choir principal chorus is specifically
oriented toward the needs of choral accompaniment, and the mixture clearly
delineates tone without becoming oppressive or over-stated. The Pedal plenum is
built along lines similar to the Great and has a complete, independent chorus
of principals beginning at 16' pitch.

Each manual division contains a third-sounding rank,
increasing the flexibility in playing Cornet-based literature, particularly
French grands jeux and dialogues. Both Great and Choir Cornets are
decomposée, while the light, diapason Sesquialtera of the Swell effectively
colors flutes or principals.

Flute choruses in the instrument display a maximum of
variety in color, ranging from the solid Great 8' Bourdon and 4' Flûte
conique to the Swell's crisp, articulate wooden flutes at 8' and 4' with a
crowning 2' Recorder in 70% lead. The Choir's flute ensemble is the largest of
the divisions and includes a luxurious 16' Conical Flute. Among the largest yet
softest pipes in the organ, this stop features a clarity of pitch created by
the open taper that lays a solid foundation for quieter combinations. Pedal
flutes include the 32' Contre Bourdon, the wooden 16-8' Contrebasse, an 8'
stopped wood Flûte bouchée and the 4' Cantus Flute. The
Contrebasse/Flûte is useful as the foundation of plenum literature,
particularly works in the style of earlier German composers such as Buxtehude,
while the 8' range works well as the chant line in French classic organ masses.
We have recently been exploring solo stops for the Pedal's alto line, and the
4' Cantus Flute in this instrument is our first open wood with inverted mouths
and raised caps. The prominent, commanding flute timbre is designed especially
for works such as the fourth movement of Widor's Fifth Symphony
style='font-style:normal'>.

Reed stops in the organ span a similarly wide spectrum of dynamic
and style. The Choir solo stops of Cremona, English Horn and Tuba contrast with
the dramatic fire of the Swell reed chorus with independent trumpets at 16', 8'
and 4'. The Pedal chorus is built on the 32' Posaune with wooden resonators
that encourage a generous amount of fundamental pitch. All reeds in the organ,
with the exception of the resonators of the Posaune, are from A. R. Schopp's
Sons, who also made the strings, Great Harmonic Flute and display pipes. We are
grateful to the people of A. R. Schopp's for their excellent work in all of our
projects.

The casework of the façade incorporates the main
architectural ornament details in the room. Hand-carved Corinthian capitals
based on the Temple of the Winds design support a substantial architrave with
dental molding and carved egg-and-dart detail molding. The console features
panels with crotch mahogany and styles and rails with quarter-sawn ribbon
mahogany. Console controls include 128 levels of memory, simple sequence memory
with advance thumb pistons in each key slip and an internal MIDI interface with
data filer for record and playback.

Mechanically, the organ uses Goulding & Wood's unique
design of electro-pneumatic slider and pallet windchests. This design offers a
tightness of ensemble and attractive speech characteristics which typify common
key channel instruments while allowing for remote, moveable key control. This
marriage of recognized mechanical design and up-to-date technology produces a
musical instrument of great expression and versatility. Adding to the reliable
chest mechanics, the layout and engineering of the instrument allows
accessibility for maintenance and tuning as well as maximizing tonal egress.
Great and Swell divisions are located near the barrel-vault ceiling, allowing their
voice to emanate freely through the room, and the Choir box is located near the
choir stalls of the chancel for effective accompaniment.

It is our hope and expectation that our Opus 41 will serve
the people of Preston Hollow Presbyterian Church well in their worship for
generations to come. Similarly, we look forward to contributing to the vibrant
cultural life of Dallas.

--Jason Overall

From the organist

My first days as organist at Preston Hollow Presbyterian
Church in March of 2000 were filled with excitement. The congregation had
recently approved a capital building expansion campaign that included new
facilities for music rehearsal, an enlarged and acoustically improved
sanctuary, and a new pipe organ. Becoming part of the music ministry team, forming
new relationships with congregation, choir and staff, and jumping right into
the process of selecting a builder for the new instrument was a challenge.
Working with Dr. Jim Watkins, chair of the selection committee, Terry Price,
music director and former classmate, and the rest of the committee was a joy.
The enormity and challenge of embarking on a project of this scope became very
real, and it was with a sense of certainty and good fortune that we decided to
entrust the planning and building of this new instrument to Goulding &
Wood, Inc. of Indianapolis.

While the organ committee was busy planning the
specification for this instrument with Jason Overall and Brandon Woods of
Goulding & Wood, others at the shop consulted with the architects for the
sanctuary expansion. To have the organ builder involved in this process was a
luxury that many don't experience. After the sanctuary renovation was complete,
we still had to wait another year for the organ. We finalized the stoplist,
enjoyed frequent digital photos of building progress e-mailed from the
workshop, and tried to imagine the sounds of the new instrument. Frequent
communication from the folks at Goulding & Wood helped us plan and prepare
for the installation, which occurred in the fall of 2003. Because of this, very
few problems were encountered, and the organ was ready several weeks earlier
than forecast.

It's very difficult to describe the pleasure of musical
sound. Most music lovers can recall the experience of sound lifting and
transporting the soul, of losing oneself in the beauty and holiness of the
moment. I and many others expected this instrument to provide the instrumental
voices for this kind of experience. The visual impact is simple, elegant, and
stunningly beautiful. The sound is rich and resonant, not muddy, but
full-bodied, with mixtures providing clarity and brilliance without a hint of
shrillness. Since the installation, my days have been filled with the wonder of
discovery. Instead of trying yet another trick to find a registration that
works, I have the delightful challenge of choosing from among several beautiful
possibilities. Preparing hymn accompaniments is a joy; the sanctuary's
acoustical improvements support the organ and congregation's song.
Possibilities for anthem accompaniments for our 120-voice choir are nearly
limitless. Repertoire that was filed away is brought out, registered, and
played, with the exclamation, "Aha! That's how it should sound!" The
powerful voice of Opus 41 fills the 900-seat space without becoming strident;
the Tuba 8' provides a crowning touch. The softest manual voice, the Choir
Conical Flute 8', almost disappears, while the 32' Contre Bourdon purrs quietly
underneath.

I believe I may speak for the selection committee, the
Preston Hollow Sanctuary Choir, the music ministry, and the congregation when I
say that we are truly blessed. We had a dream that was recognized by this
congregation to have great value, that merited considerable financial
commitment. This dream was nurtured, shaped and strengthened by our
collaboration with the Goulding & Wood organ builders. Our desire for a
pipe organ that could lead us as we lift our hearts, souls and voices together
in praise of our Creator God has been realized.  Our journey of stewardship of this great gift is now just
beginning.

--Annette Albrecht

From the senior minister

I have always said that sacred music in worship is "my
sermon," allowing me to hear the Word proclaimed beyond mere words,
interpreted by the great composers of all ages. Music lifts the soul beyond the
merely rational, and inspires God's people to sing the songs of faith.

Our new Goulding & Wood pipe organ has become the
centerpiece of our chancel; more importantly, it is our cantus firmus,
grounding our worship, raising the eye upward and tuning our praises. Already
we sense a new energy, depth and vitality in our services of worship. Whether
it is a Thanksgiving service, Christmas candlelight, a memorial service, a
wedding or an Easter Sunday, our 69-rank Goulding & Wood is capable of all
the nuances of color and meaning needed for the church's many moods.

I cannot express sufficient gratitude to all the artists
from Goulding & Wood who took great interest in our church, befriended our
staff and members and were supremely committed to the building of an instrument
to be used in the worship of God. They will be remembered by generations to
come--every time Goulding & Wood's Opus 41 fills its great bellows and
sings again.

--The Rev. Dr. Blair Monie

Great

16' Præstant

16' Bourdon (ext)

8' Principal

8' Gamba

8' Flûte harmonique

8' Bourdon

4' Octave

4' Flûte conique

2 2/3' Quint

2' Super Octave

1 3/5' Terz

2 2/3' Gross Fourniture II

1 1/3' Fourniture IV

16' Fagot

8' Trumpet

8' Tuba (Choir)

Tremolo

Gt/Gt 16-Unison Off-4

Swell

16' Gedeckt (ext)

8' Geigen Diapason

8' Gedeckt

8' Viole de gambe

8' Voix céleste (GG)

4' Principal

4' Clear Flute

2' Octave

2' Recorder

1 1/3' Quint

2 2/3' Sesquialtera II (TC)

2' Plein Jeu III-IV

1' Cymbale III

16' Contre trompette

8' Trompette

8' Hautbois

8' Voix humaine

4' Clairon

Tremolo

Sw/Sw 16-Unison Off-4

Choir

16' Conical Flute

8' Narrow Diapason

8' Chimney Flute

8' Conical Flute (ext)

8' Flute Celeste

4' Fugara

4' Spindle Flute

2 2/3' Nazard

2' Block Flute

1 3/5' Tierce

1 1/3' Larigot

2' Mixture III

8' Cremona

8' English Horn

8' Tuba

Tremolo

Cymbelstern

Rossignol

Ch/Ch 16-Unison Off-4

Pedal

32' Contre Bourdon

16' Principal

16' Contrebasse

16' Soubasse

16' Bourdon (Great)

16' Gedeckt (Swell)

16' Conical Flute (Choir)

8' Octave

8' Flûte (ext Contrebasse)

8' Flûte bouchée

8' Gedeckt (Swell)

4' Choral Bass

4' Cantus Flute

2' Mixture III

32' Contre Posaune

16' Posaune (ext)

16' Fagot (Great)

8' Trompete

8' Fagot (Great)

8' Tuba (Choir)

4' Schalmei

Tremolo

Cover photo by Robert Duffy

Cover Feature

A. David Moore, North Pomfret, Vermont, Opus 27

The home of George Becker and Christo Bresnahan,

San Francisco, California

From the builder

Opus 27 is a compact two-manual organ designed to give the player the
greatest number of stop combinations and colors from a small stoplist. The
lower keyboard controls the Great, the upper the Positive. The manual compass
is 56 notes, and the straight pedalboard has 30 notes. Couplers include
Positive to Great, Positive to Pedal, Great to Pedal. The tremulant affects the
entire organ.

The Great has an 8' Clarabella, a 4' Principal in the display, Twelfth,
Fifteenth and Seventeenth. The Clarabella is scaled after examples found on
early Hook organs. The bass octave is stopped. Pipes from tenor C are of open
wood and of English style construction with the windway carved into the cap.
They are similar to early New England-style Stopped Diapason pipes without the
stopper. The blocks have a little step down after the front edge next to the
windway, which helps a great deal with the speech of the pipes. Provision of an
8' open stop on the Great allows for a rich plenum with a strong fundamental.
The Clarabella, drawn alone, serves as a distinctive foil to the 8' Stopped
Diapason. The Clarabella must not be confused with the Melodia, also an open 8'
stop. (The Melodia typically has an inverted mouth, a cap that protrudes over
the front of the pipe, more nicks, and a block, the top of which is curved
forward in various degrees depending on the builder.) Twenty-one Principal
pipes are in the display above the keyboards. The treble pipes are in the case,
followed, front to back, by Fifteenth, Twelfth and Seventeenth. Initially
conceived as a double draw Sesquialtera, it was thought better to separate the
two ranks to allow greater freedom of registration.

The Positive has an 8' Stopped Diapason of wood, a 4' Flute and an 8'
Trumpet. The Stopped Diapason is quite literally an open wood diapason which is
stopped, in the manner of early Hook and English examples. The speech has a
hint of quint and a subtle chiff. The Flute is of open wood pipes. The bass of
the Trumpet has wooden resonators, wooden blocks and shallots.
style="mso-spacerun: yes"> The blocks and shallots are turned (on
a South Bend lathe) from a single piece of wood. The inside bore of the shallot
is tapered. The tongue is held in place with a hardwood cleat and two small
wood screws. The opening in the shallot is tapered and milled into the wooden
face. The dimensions of shallot opening, bore, taper and resonator inside
diameters are close to eighteenth-century North European practice. The use of
wood for the shallot avoids the need for lead-faced shallots or leathered
shallot faces. The wood face, in terms of hardness, is somewhere between lead
or brass and a leathered surface. The brass tongues are fairly wide, thick, and
tapered. The lowest octave has wooden resonators which impart a strong
fundamental and circumvent concerns about collapse. Metal resonators are used
from 4' C with wood shallot-blocks; at middle C the resonators are metal, the
blocks lead and the shallots brass, much like an old North European Trumpet.
The Trumpet has a brightness of speech as well as a distinct and prominent
fundamental throughout. The Trumpet can be played either from the upper manual
or from the pedal, or on both manuals and pedal simultaneously. It is useful
for a cantus firmus, or for an independent pedal line when used with the 8' and
4' Positive stops against the lower manual plenum, and is satisfying as a solo
register.

The Pedal contains the 16' Subbass of butternut wood; the lowest six pipes
flank the manuals. The butternut, like most of the wood in the organ, was
felled on the North Pomfret Moore property. The logs were sawed into boards of
various thicknesses on a WoodMizer thin-kerf band sawmill. Much of the wood is
quarter sawn.

Metal in the Principal is lead with 28% tin. Smaller amounts of antimony,
bismuth and copper are added to the metal alloy. The melting pot holds 700 lbs
of metal. To this is added 1.25 lbs of antimony, .25 lbs of bismuth and 2.5 lbs
of copper. Copper seems to give the alloy a nice ringing sound. Antimony is
added to prevent metal collapse. Pipe metal was poured, hammered and fashioned
into pipes all in the Moore workshop. (A Dom Bédos-type hammering
machine, made by Dave Moore, graces the workshop and is used "once in a
while.") A new hammering machine that can automatically hammer a full
sheet of metal as it is taken from the casting table is now used. This machine
has 17 metal hammers that are raised and dropped onto the metal all at once,
covering the whole width of the sheet. The sheet is then advanced a fraction of
an inch and the hammers move over slightly. Metal hammered with this machine
prevents the "bacon effect" (caused by sheets of metal being hammered
on the edges more than in the middle, thus the sheet starts to get wavy like a
piece of cooked bacon). Hammering pipe metal is an old practice that hardens
the metal, optimizes pipe resonance and imparts a richness of timbre not
otherwise obtainable.

The metal pipework is voiced with fairly wide windways and regulation at the
toe hole for most stops. The toe holes are closed down until the volume of the
pipe is just right. In essence, an Open Diapason register would have pretty
much open toes in the mid range and then the treble pipes would be regulated a
bit at the top register. Toe regulation is important in stops above 4' pitch.
Thus with a 2' stop the windways are kept just right in the top octaves and the
volume is controlled at the toe. This keeps the top ranges of the stop from
being too loud and overpowering. This style of voicing, with moderate nicking,
is just about what the early New England organ builders practiced. One can
often find this type of voicing in various European styles. The pipes are cone
tuned.

The action is suspended, and is provided with easily accessible adjustment
nuts. Trackers are of wood with rolled threaded brass ends and wood or leather
nuts for adjustments. Some tracker ends have wires into the wooden trackers
that go through unbushed metal rollerboard arms. The pedal action has some felt
bushings and washers but the manual keyboards do not.

Winding for the organ is controlled by a small curtain valve. A small
single-fold reservoir is located at the bottom inside the case and feeds air to
three windchests through solid wood trunks in the manner of old instruments.
Pressure is 211/16 inches. Winding is flexible in that a sustained note in one
part of the keyboard is influenced by a moving passage in another part of the
register. The blower is a quiet operating Laukhuff. The tremulant is of the
tremblant doux type described by Dom Bédos and found on early French and
New England organs. A leather-covered door is poised at an angle in a horizontal
section of the main wind trunk. When the tremulant is engaged, the door
oscillates back and forth, creating fluctuation in the wind pressure and a
tremulant effect that varies depending on what is being played.

--A. David Moore

From the owner

I first met Dave Moore in 1970 when he was renting an apartment in the
Pigeon Cove house of Charlie and Ann Fisk. David apprenticed in the then small
Fisk shop before establishing his own workshop in North Pomfret, Vermont, where
he has been designing and building historically informed mechanical action
organs for over three decades. This unique builder has traveled extensively and
studied some of the finest old (and some new) organs of Germany, France, the
Netherlands, Denmark, Italy and England. He has a working knowledge of the
treatises of Clicquot and Dom Bédos. Living and working in New England,
he has acquired a knowledge, both intimate and scholarly, of the 18th- and
19th-century New England builders. His association with the likes of John Fesperman,
Barbara Owen, Fenner Douglass, Mark Brombaugh and Kevin Birch (to name but a
few) has contributed to his understanding of the organ and its music. (Indeed,
David himself is a quite respectable organist.)

Opus 27 was built almost entirely from trees harvested by David Moore on his
Vermont farm, from lead and tin melted, poured and hammered, and from cow
bones, fashioned into keys and stop labels, all in his workshop. When I visited
the shop in 2000 to see the progress of the instrument, boards for the Subbass
still had bark on them! Wood in the organ includes butternut, black cherry,
maple, ash, walnut, pine and oak. Basswood is used for the tableboards of the
windchests. Sliders are made of poplar. Pipe shades were designed by Tom Bowen
and carved by Dave Laro.

Working out the stoplist was an exciting process involving frequent e-mails,
conversations and a number of changes. The goal was to create an instrument of
character (Moore character) with a light, responsive suspended action, stops of
distinctive color, resilient winding, and a case which bespeaks its New England
roots.

Dave Moore and Thad Stamps drove the organ from North Pomfret to San
Francisco in 72 hours! Christo and I helped them unload pipetrays, blower and
organ parts into the modestly sized music room of our San Francisco Victorian.
Over the next three weeks the organ was erected and Dave completed tonal
finishing. The organ has an unmistakable character reflecting David's vision,
his New England craftsmanship and his musical genius. Opus 27 was celebrated
with a dedication recital played in January 2003 by Charles Krigbaum. At that
time Dave Moore gave a brief demonstration of the organ to an appreciative
audience.

Dave Moore prefers to avoid the term eclectic for his organs:

. . . the organs I've made have
a certain sound to them. Pretty full, quite a lot of fundamental, good solid
bass to most things, upperwork designed along the lines of early American
organs . . . I prefer not to have them labeled in any one way. If you say,
"This is an organ constructed after French principles," some people
think that all you can play on it is French music. I prefer to keep the stop
nomenclature in English, so that if someone comes along and says, "Aha!
This is very much like the old Dutch organs, it's perfect for that," they
play that music on it and they're very happy . . . You're much better off if
you can accept an instrument for what it is and play what you can on it.1

Although I have found the organ especially appropriate for playing Bach,
Sweelinck and their contemporaries (having myself played many old organs of
Holland and North and Central Germany), opus 27 does admirably well with the
likes of Franck, Hindemith, Pinkham and Hampton. David Moore and his co-workers
Tom Bowen and Thaddeus Stamps have created a cohesive, harmonious and
imminently musical organ in a little shop in rural Vermont. The sheer joy of
playing this splendid and modestly elegant instrument is, for me, as good as it
gets.

--George Becker, M.D.

Notes

1. Quoted from the essay "A. David Moore, Organ Builder: An Account of
His Work (1971-1994)" by Kevin Birch, music director of St. John's R.C.
Church, Bangor, Maine.

A. David Moore Opus 27 can be heard at the following website
. Dr. Becker, an orthopaedic surgeon, is assistant organist
at the Old First Presbyterian Church in San Francisco. Contact: George
Becker, M.D., 1375 Sutter St., Suite 304, San Francisco, CA 94109;
415/563-7383 . Cover photo: Sean Vallely

GREAT

8' Clarabella

4' Principal

22/3' Twelfth

2' Fifteenth

13/5' Seventeenth

Tremulant
(affects entire organ)

POSITIVE

8' Stopped
Diapason

4' Flute

8' Trumpet

PEDAL

16' Subbass

8' Trumpet

Couplers

Gt/Ped

Pos/Ped

Pos/Gt

30-note, straight pedalboard

Kellner temperament

A = 440

Fabry, Inc., Fox Lake, Illinois, has
completed the renovation of the organ at Zion Lutheran Church, Marengo,
Illinois, originally built in 1960 by Haase Pipe Organs of Chicago as three
manuals and 40 ranks. In 1986 the congregation demolished their old church and
built a new one on the same site. The organ was dismantled, stored, and then
installed in the new building. Over time, the organ deteriorated to the point
where some major work was necessary.

In February 2002, Fabry was engaged to repair, refurbish, and enlarge the
organ. Phase one, completed in October 2002, included a new three-manual
console with movable platform built by Fabry. The new console was fitted with a
Peterson MSP-1000 combination action, multiplex coupler relay and chamber
relay, and is prepared for MIDI. Phase two, completed in February 2003,
included the addition of six ranks of pipework, several additional windchests,
four new wind supply reservoirs, four electric tremolos, a Zimbelstern, and
complete revoicing and re-regulation of the entire instrument. Some of the
existing pipework was repaired and re-racked, and one rank was relocated. David
G. Fabry built all the chestwork, three-manual console, and movable platform.
Joseph Poland handled the installation.

GREAT

16' Quintadena

8' Principal

8' Bourdon

4' Octave

4' Gemshorn

2' Fifteenth

V Mixture

8' English
Trumpet (new)

Chimes

Tremolo

Gt/Gt
16-UO-4, Sw/Gt 16-8-4, Pos/Gt 16-8-4, MIDI/Gt

POSITIV

8' Quintadena

8' Wood
Flute (new)

8' Wood
Flute Celeste (new)

4' Rohrflote

2' Principal

11/3' Larigot

1' Sifflote

III Scharf

8' Trumpet
(Gt)

8' Cromorne

Zimbelstern
(new)

Tremolo

Pos/Pos
16-UO-4, Sw/Pos 16-8-4, MIDI/Pos

SWELL

8' Rohrgedeckt

8' Gamba

8' Gamba
Celeste (TC)

4' Principal

4' Spitzflote

22/3' Nazard

2' Koppelflote

13/5' Tierce
(new)

IV Mixture

16' Chalumeau
(new)

8' Trompete

4' Schalmei

Tremolo

Sw/Sw
16-UO-4, Pos/Sw, Gt/Sw,

MIDI/Sw

PEDAL

32' Acoustic
Bass (resultant)

16' Principal
(new)

16' Subbass

16' Quintadena
(Gt)

8' Principal

8' Nachthorn

4' Choral
Bass

II Rausch
Pfeife

32' Bombarde
(resultant)

16' Chalumeau
(Sw)

16' Posaune

4' Schalmei
(Sw)

Gt/Ped
8-4, Sw/Ped 8-4,

Pos/Ped
8-4, MIDI/Ped

Bedient Pipe Organ Company

Roca, Nebraska

First Presbyterian Church

Chippewa Falls, Wisconsin

The challenge to Bedient was to maintain the integral parts of an 1889
Steere and Turner, update and expand the organ, while at the same time make the
organ user-friendly and accessible. Opus 72 at First Presbyterian Church,
Chippewa Falls, Wisconsin (II/30) accomplished just that. In 2003, much of the
organ was dismantled and moved to our Lincoln, Nebraska shop where it was
reassembled, and old and new were interlaced.

New additions to the organ are 11 ranks of pipes (including a new speaking
façade drawn from the Principal 8' and Pedal Principal 8'), a new,
enlarged Swell windchest, electro-pneumatic stop action, solid-state
combination action, electro-pneumatic Pedal key action, wind system components,
both keyboards, the pedalboard and an adjustable height organ bench. Retained
and modified were the Great windchest and Pedal Bourdon wind-chest, some of the
façade casework (necessitating the stripping of old paint and careful
matching of cherry wood finish on both old and new parts), and structural parts
of the organ. The entire organ was revoiced to accommodate the newly renovated
sanctuary and blend the old and new pipes to be as one. The new stops are
indicated in italics.

--Gene Bedient

GREAT

16' Bourdon

8' Principal

8' Dulciana

8' Melodia

4' Octave

4' Flute
d'Amore

2' Fifteenth

Mixture
III-V

8' Clarinet

8' Trompete

SWELL

8' Open
Diapason

8' Salicional

8' Voix
céleste (tc)

8' Stopped
Diapason (new pipes 13-58)

4' Spitzflute

22/3' Nazard

2' Doublette

13/5' Tierce

Mixture
II (1980s addition)

8' Oboe

8' Trumpet
(1980s addition)

PEDAL

16' Bourdon

8' Principal

8' Bourdon
(ext)

4' Octave
(ext)

16' Fagott

Couplers

Great/Pedal

Swell/Pedal

Swell/Great

Tremulant

Cover

Buzard Pipe
Organ Builders, Champaign, Illinois

Opus 29,
completed November, 2003

All Saints
Episcopal Church, Atlanta, Georgia

Some years ago I was contacted about a new organ for All Saints Episcopal
Church by the assistant organist, Jefferson McConnaughey. We seemed to be
speaking the same language concerning how we thought organs should sound, and I
was eager to meet him, music directors Ray and Elizabeth Chenault, and to visit
the church. Our conversations were put on hold while the parish called a new
rector and undertook other projects. At the time we were blessed with
commissions to build the organ at St. Paul's Episcopal Cathedral, Oklahoma
City, and large instruments for Glenview Community Church (III/71) and Holy
Family Catholic Church of Rockford, Illinois (III/56).

A few years went by, and I was invited to visit the church. Judging from the
size of the instrument under discussion, I expected to enter a huge space.
Instead, the church was more modest than vast, the acoustic more understated
than generous. At first blush, it seemed that 40 stops could have adequately
met their needs. But, no real lady ever gives up all her secrets at once, and
so I patiently looked and listened.

I listened to their former instrument while walking around the room, and
observed the acoustical phenomena under which the musicians had been laboring
for so long. The organ, although installed in the chancel in relatively close
proximity to the congregation, diminished drastically in volume in the nave. I
concluded that a part of the organ had to be installed in the body of the
church, to support singing and "pull" the sound out of the main part
of the organ installed in the chancel. Additionally, sound generated in the
nave lost its energy quickly; sound simply didn't travel well without becoming
garbled.

The musicians wanted to be able to properly register an organ to
"text-paint" Anglican Chant, choral anthems and ceremonial music in
the Anglican musical tradition. They needed a wide variety of accompanimental
tone colors at every dynamic level so that the organ could always support the
singers, even at pianissimo volume levels. It was equally important that the
organ musically render the great body of organ literature, even that of the
French Baroque school, of which Mr. McConnaughey seemed quite fond. And, the
Chenaults are duo organists; the literature which has been (and has yet to be)
commissioned for them had to be accommodated. This requires a large organ, as
coloristic stops outside the component voices for the essential choruses had to
be included and integrated into the design. Fortunately, these stops were never
in competition for space or funding, nor were our classic concepts of the
hierarchical scaling of divisions within the instrument ever compromised. Some
specific organs were studied: The Temple Church, London; King's College,
Cambridge; and St. Paul's Cathedral, London.

There is a beautiful chapel behind the Epistle side choir stalls, at 90
degrees to the axis of the church, which also serves as an overflow room on
Sundays. Worshippers there were relegated to viewing services on a small
closed-circuit TV, and could not participate in the hymn-singing because, being
outside the body of the church, they couldn't hear the organ. If the new organ
were to address and meet all the musical and acoustical requirements of the
church, then the chapel also needed to have some pipes in it, so that those
seated there could feel a part of the worshiping community.

All of these requirements were brought to bear upon a single instrument. Yes,
I agreed, this instrument has to be large--very large. Even if the room seats
only 550 souls, the musical and physical requirements dictated an organ of a
size which one might initially think out of proportion.

The position and installation of the new Main Organ was relatively
straightforward. The Great, Swell, Choir, Tuba, and Pedal would have to be
installed in the chancel, in an enlarged version of their existing chamber,
plus spaces created by cantilevering steel platforms into the chancel space on
both Epistle and Gospel sides.

The antiphonal division, a romantic Solo Organ including a Diapason Chorus
which mirrors the Great, had to be installed in the nave. But there was no
floor space for cases, no desire to see columns, and windows everywhere, many
of them signed by Louis Comfort Tiffany. By clever engineering of the diatonic
windchest layouts (which we had first used at St. Paul's Cathedral in Oklahoma
City) we were able to tuck the Solo Organ cases up in the rafters of the church
above the narthex, on either side of a central great window. By creative use of
perspective, we were able to engineer the location of the supporting steel
platforms so that they wouldn't block the view of the Tiffany windows in the
side aisles, yet give us sufficient height for the pipes inside the cases.

As conversations concerning the tonal design took shape, Ray, Elizabeth, and
Jeff fell in love with our tonal style which, while embracing eclecticism, has
its own unique personality. They visited both our large organs, and Jeff
actually played Sunday services on our Opus 7 organ at The Chapel of St. John
the Divine in my wife Linda's stead. The All Saints organ is a very logical
outgrowth of our style as practiced in our smaller organs, and as our two
larger organs have led us. The humble beginnings of Opus 7 at the Chapel, in
which we made 29 stops into a cathedral organ, can be seen all over this much
larger organ. Well-informed national and historical inspirations are
distributed throughout, so that the whole is at unity with itself. No German
Hauptwerk, French Récit or English Chair Organs for us. For example the
Great includes the mature English practice of 8' First & Second Open
Diapasons, married nicely to the French Fonds d'Orgue. A voluptuous Full English
Swell has continental fire by virtue of the authentic (but modified) French
reed battery, but the lyrical soft solo reed is a plaintive English Oboe. No
quirky nomenclature either. Although rooted in 19th-century English practice of
"Diapason, Principal, Twelfth, Fifteenth," etc., the stops in our
organs are what they say they are. If the Swell reed is spelled
"Trompette," you can be assured that you will hear a Trumpet with
French shallots and pipe construction.

The Great is based upon a 16' Double Open Diapason of tin which stands
proudly in the Gospel side case along with the rest of the division. A complete
Diapason chorus through Mixture, flutes at 8' & 4', and a Viola da Gamba
make up the flue work, and the reeds are Trombas, brought up to the manuals from
the Pedal Trombone. The Mixture breaks at octaves, rather than at fifth
intervals. In this way, one doesn't hear alternating unison and fifths playing
as the top rank, and the breaks are virtually unheard.

The Great also incorporates an harmonic corroborating stop which was more at
home in English and American concert organs of the early part of the last
century. Our four-rank Harmonic Mixture has in it a unison, a quint, a tierce,
and a flat-seventh. These are all the harmonics present in Tromba class reeds,
which are on the Great at 8' and 4' pitches. We originally included the
Harmonic Mixture as a way to prevent the dark Trombas from covering the
brightness of the mixture work in full organ, but have found that when used
sans Trombas, the ancient flavor of 18th-century Dutch organs is perceived in
an uncanny way. One could even imagine the wind to be unsteady--but of course
it's not!

The Solo has a Diapason Chorus nearly mirroring the Great, and despite its
distance from the Main Organ, it can exactly balance the Great Plenum in
certain contexts. The Solo contains a pair of E. M. Skinner-inspired Gambas,
the celesting rank in the case across the church from its unison pair. Now
that's a Celeste! The Flügel Horn, while a lyrical romantic solo reed, has
just enough harmonic interest to function beautifully as a chorus reed. The
Bassett Horn is certainly at home playing obbligato parts in Elgar, but has
just enough Cromorne in it to play Daquin with a French nose in the air.

One can use the Choir in a classic context, as a Positiv when a lighter foil
to the Great is desired. But this division is the real choral accompanying
workhorse. It's one of the most elegant, light, but profound Choir divisions we
have created. The Choir features a flute chorus from 16' up, and a proper
Diapason chorus complete with a four-rank quint mixture, a fifth interval
higher than the Great. But the luxurious feature in this day and age is our
Dulciana Chorus, which includes a three-rank mixture in which the 4' enters
early on at tenor C. Our Dulcianas are truly small Diapasons, and there is
nothing like the effect of accompanying voices with Diapason color, but at such
a soft volume. The Dulciana Mixture has many uses in coloring and painting
texts, 90% of which I would never have envisioned. Our Cornopeans are
small-scaled, but fundamental Trumpets as the original prototypes were, not the
horn-like Cornopeans one would otherwise love to hate. The Clarinet is truly of
English style, and the English Horn is orchestral in color with enough body to
be the foundation of the Choir reed battery, yet enough jazz in the color to
differentiate itself from the more fundamental Swell English Oboe.

The Chapel Organ includes a small-scaled Diapason Chorus at 8' and 4' to
lead the hymn-singing, and an 8' Aeoline and Vox Angelica. These very, very
soft string-toned stops allow the worshippers there to feel connected, and also
provide a powerfully effective pianissimo "wrap-around" effect as the
softest sounds concluding a smooth decrescendo. These little strings can just
be barely heard in the nave as the expression box closes on the Solo Flute
Cœlestis. When they play alone, they are literally in another room, off in
the distance.

In the All Saints organ, the Great, Swell, Choir, Solo, and a portion of the
Pedal divisions play upon 4 inches of wind pressure. The Trombones and Trombas
play upon 7 inches of wind, the Solo Festival Trumpets on 6 inches, and the
Major Tuba plays upon 20 inches of wind. The Tuba is housed in its own
expression box, and the organist can easily select which expression shoe may be
used to operate the Tuba's expression (or whether it is to remain open) by a
simple rotary switch. We aim to expand the color and dynamic range of the pipe
organ, while keeping the console controls simple and straightforward.

Before I was selected as their builder, Ray, Elizabeth, and Jeff charged me
to design the perfect instrument for all their requirements, and they would
undertake the responsibility of presenting this plan to the organ committee to
get their reaction, and see if the instrument would have to suffer at the hands
of "value engineers." Although my past experience made me somewhat
timid about presenting such a large (expensive) instrument as part of a
selection competition, we arrived at the specification of 63 straight speaking
stops, 87 ranks of pipes (5229 pipes overall), in five free-standing cases
throughout their church.

I will never forget the evening of a crucial organ committee meeting when I
received an excited telephone call from Ray. The musicians presented the
proposal and the room fell silent. People on the committee asked questions to
the effect: "Now, do all three of you musicians agree on this builder? Do
all three of you agree with each other in every respect to this instrument?"
When the answer was an emphatic yes, a committee member said: "How many
times do musicians agree with each other about anything, let alone every of the
many thousands of details in this organ's design!? This is what we need for All
Saints, and we need John-Paul to build it for us." A member of the
committee, Sarah Kennedy, later wrote a check for the entire project, in loving
memory and in honor of her family, The Kenans.

The organs' visual designs were developed during August and September of
2001. The first draft of the Chapel Organ's design was revised to be more in
keeping with the modern nature of the chapel (and less like King's College,
Cambridge). The Main Organ and the Solo Organs were built according to my first
pen-and-ink renderings.

All of my design drawings are executed by hand. The discipline of cleaning
the drafting table and truing the parallel bars and 90-degree instruments
contributes to clearing my mind of everything except what I need to think about
for the organ on the blank piece of paper.

It is always my goal to design organ cases which appear as though they had
always been in the church. The All Saints cases use shapes and colors found
throughout the room, and mirror the restrained nature of the Victorian Gothic
design. But the cases become vivid, exciting, and dramatic by incorporation of
the fabulous red enamel and gold leaf adorning the church's clerestory. The
inclusion of the red gave me license to add contracting pieces of red-stained
Honduras mahogany in the stained white oak cases. The soaring nature of the
Solo Organs, as their lines ascend while moving toward the great window, seemed
to cry out for heraldic angels, announcing the Great Day of Judgment on
gold-leafed trumpets. Thanks to parishioner David Foerster for making these
possible.

All of us will remember exactly where we were on 9/11. I was at the drafting
table finishing the designs for the Main Organ cases. I had penciled the
drawing the day before and was preparing to ink the drawing when I heard the
news reports. My entire staff came up to the drafting room and we all went to
the conference area where a small television showed us the horrors unfold as
the second airliner smashed into the second building. As we heard a large
airplane overhead, being sent to land at our local airport, I was asked if we
were going to close for the day. I said, no. We had to go about our task of
making beautiful things, especially in light of the ugliness that visited
itself on our country that day. If we wanted to take time off individually to
mourn our country's losses, go with my blessing, but the doors would remain
open and I would continue to draw a beautiful pair of pipe organ cases.

I set to cleaning out my India ink pens, and put on a CD of The English
Anthem II from St. Paul's Cathedral,
London.

Oh Lord, look down from heaven, and behold the habitation
of Thy holiness and of Thy glory: Where is Thy zeal and Thy strength? Thy
mercies towards me, are they restrained?

My deepest thanks to the musicians at All Saints Church, everyone on the
organ committee, Greg Kellison, chairman; Paul Elliott, the rector; David
Foerster, and Sarah Kennedy for selecting me and my firm for this tremendous
commission.

My overwhelming gratitude goes to the members of my staff whose hard work
and dedication made such an excellent instrument so sublime: Charles Eames,
executive vice president, general manager and chief engineer; Brian K. Davis,
associate tonal director; Keith Williams, service department director; Shayne
Tippett, shop manager; Jay Salmon, office manager; Evan Rench, pipe maker,
voicer; Steve Downes, tonal assistant; C. Robert Leach, cabinetmaker; Stuart
Martin, cabinetmaker; Kenneth McCabe, winding systems; Ray Wiggs, consoles,
windchests; Robert Ference, service technician; Stuart Weber, service
technician; Jonathan Borchardt, service technician; JoAnne Hutchcraft Rench,
receptionist.

--John-Paul Buzard

GREAT (4-inch wind pressure)

Manual II - unenclosed pipework

16' Double Open Diapason

8' First Open Diapason

8' Second Open Diapason (ext 16')

8' Viola da Gamba

8' Harmonic Flute

8' Bourdon

4' Principal

4' Spire Flute

22/3' Twelfth

2' Fifteenth

2' Fourniture V

13/5' Harmonic Mixture IV

16' Double Trumpet

8' Trombas (ext Ped)

4' Clarion (ext Ped)

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Chimes

8' Major Tuba (20" wind)

8' Tuba Solo (melody coupler)

8' Fanfare Trumpets (Solo)

SWELL (4-inch wind pressure)

Manual III - enclosed and expressive

8' Open Diapason

8' Stopped Diapason

8' Salicional

8' Voix Celeste

4' Principal

4' Harmonic Flute

22/3' Nazard

2' Flageolet

13/5' Tierce

22/3' Full Mixture V

16' Bassoon

8' Trompette

8' Oboe

8' Vox Humana

4' Clarion (ext 16')

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8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHOIR (4-inch wind pressure)

Manual I - enclosed and expressive

16' Lieblich Gedeckt (wood)

8' English Open Diapason

8' Flûte à Bibéron

8' Gedeckt Flute (ext 16')

8' Dulciana

8' Unda Maris

4' Principal

4' Koppel Flute

2' Recorder

2' Mixture III–IV (Dulcianas)

11/3' Fourniture IV

Sesquialtera II (22/3' & 13/5')

16' English Horn

8' Cornopean

8' Clarinet

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Cymbalstern (14 bells)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

Harp (digital)

Celesta (digital)

ANTIPHONAL SOLO (4- & 51/2-inch wind)

Manual IV - in twin cases over the narthex (expressive)

8' Open Diapason

8' Viola da Gamba

8' Gamba Celeste (CC)

8' Melodia

8' Flute Cœlestis II (Ludwigtone)

4' Principal

4' Flûte d'Amour

2' Doublette

11/3' Mixture IV

8' Flügel Horn

8' Corno di Bassetto

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Cymbalstern (8 bells)

Chimes (Gt)

8' Fanfare Trumpets

8' Major Tuba (Gt)

Harp (digital)

Celesta (digital)

PEDAL (various wind pressures)

32' Double Open Diapason (digital)

32' Subbass (digital)

32' Lieblich Gedeckt (Ch, digital)

16' First Open Diapason

16' Second Open Diapason (Gt)

16' Bourdon

16' Lieblich Gedeckt (Ch)

8' Principal

8' Bass Flute (ext 16' Bourdon)

8' Gedeckt Flute (ext 16' Lieblich)

4' Choral Bass

4' Open Flute (ext 16' Bourdon)

22/3' Mixture IV

32' Contra Trombone (wood)

16' Trombone (wood, ext 32')

16' Double Trumpet (Gt)

16' Bassoon (Sw)

8' Trumpet (ext 16')

4' Clarion (Sw)

8' Major Tuba (Gt)

8' Fanfare Trumpets (Solo)

CHAPEL (4-inch wind, floating)

8' Open Diapason

8' Aeoline

8' Vox Angelica (tc)

4' Principal

Chapel on Great

Chapel on Swell

Chapel on Choir

Chapel on Solo

Chapel on Pedal

Intraddivisional couplers

Gt/Gt 16-UO-4

Sw/Sw 16-UO-4

Ch/Ch 16-UO-4

Solo/Solo 16-UO-4

Interdivisional couplers

Gt/Ped 8, 4

Sw/Ped 8, 4

Ch/Ped 8, 4

Solo/Ped 8, 4

Sw/Gt 16, 8, 4

Ch/Gt 16, 8, 4

Solo/Gt 16, 8, 4

Sw/Ch 16, 8, 4

Solo/Ch 16, 8, 4

Pedal Stops to Divisional Pistons

The Wicks Organ Company, Highland,
Illinois has built a new organ for the Barrington United Methodist Church,
Barrington, Illinois. In 1999 the church building was destroyed by fire. Their
losses included a 41-rank Möller pipe organ, which had been rebuilt as
recently as 1988. As planning for their new building began, the search for a
new pipe organ started. The church’s demands for their new organ were
that it had to be a great congregational organ, but also able to perform for
recitals as well. The sanctuary was to be a top-notch performance facility as
well as a place of worship. The church desired an organ of 3 manuals and 5
divisions, including an antiphonal. Each division was to have a principal
chorus, and the foundations of the Great organ were to be exposed.

The church committee heard many styles of instruments built by Wicks over
the last seven decades. This included, a North German neo-Baroque style
instrument, a symphonic organ scaled and designed by Henry V. Willis, an
American Classic, and an Aeolian instrument from the 1920s that had been
rebuilt by the Wicks Organ Company in conjunction with Mr. Madison Lindsey. The
service playing abilities of each instrument were demonstrated to the
committee, and they identified and found themselves drawn to the
English/symphonic style of the rebuilt Aeolian instrument. The organ committee
chose Wicks over several other builders after hearing several new Wicks
installations and the company ‘s recent success in exactly this style of
instrument.

The completed organ is described as an English service organ with orchestral
capabilities. The instrument is able to not only provide a seamless crescendo
from ppp to fff, but can do it with flair. In addition to service music, the
organ is able to perform every possible type of organ literature from the
Renaissance to the present. It is also able to realize orchestral
transcriptions with great skill, thanks to the presence of many orchestral solo
stops in each division, blending choruses, and 2-inch thick beveled and overlapping
felted shades. The completed organ consists of 24 ranks of pipes and 25 digital
voices. The Wicks design team pre-engineered space to accommodate real pipe
ranks to replace these voices. The Swell is on 7 inches of wind, the Pedal 10
inches; the Choir and Great are on 6 inches, with the exception of the
Clarinet, English Horn, and Tuba in the choir, which are all on 10 inches.

The solo reeds of this organ are of a unique style, derived from the
Willis/Wicks style reeds used in many Wicks organs over the decades, married to
the traditional ideas of Skinner solo reeds. The end results were clear,
smooth, stops of unique color and great versatility throughout the compass. The
greatest asset to the organ is the lively acoustical environment of the sanctuary.
The collaboration of the building committee, acousticians Kirkegaard &
Associates of Chicago, and the Wicks Organ Company have resulted in a
beautiful, successful combination of organ and room.

The console is drawknob style with 45-degree side jambs, a glass music rack,
and P&S keys with ivory resin naturals and ebony sharps. The drawknobs are
made of polished hardwood. Made of red oak, the interior is very light and the
exterior is stained to match the woodwork of the chancel furnishings. The console
features a tilt tab that allows the digital Tuba and Festival Trumpet to
emanate from the antiphonal division located in the rear of the church instead
of their native divisions. The console also has a Manual I/II transfer for
French literature.

Installation of Opus 6412 began in August of 2003, and an initial tonal
finishing and adjustment of digital voices took place in early September. After
the church’s dedication, Wicks tonal director Dr. William Hamner and reed
voicer Greg Caldwell completed an entire tonal finishing.

--Brent Johnson

Great (exposed)

16’ Violone*

8’ First Open Diapason

8’ Second Open Diapason

8’ Violoncello

8’ Harmonic Flute (Ch)

4’ Principal

4’ Flute Octaviante

2’ Fifteenth

IV Full Mixture

8’ Chorus Tuba (Ch)

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Chimes* (Ant)

Swell (expressive)

16’ Minor Bourdon*

8’ Open Diapason

8’ Stopped Diapason*

8’ Viola*

8’ Viola Celeste*

8’ Flauto Dolce*

8’ Flute Celeste*

4’ Octave Diapason

4’ Triangular Flute*

22/3’ Nazard*

2’ Recorder*

13/5’ Tierce*

IV Plein Jeu

16’ Waldhorn*

8’ Cornopean

8’ Oboe*

4’ Clarion

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

Tremolo

Choir (expressive)

8’ Geigen (1-12*)

8’ Concert Flute

8’ Dolcan*

8’ Dolcan Celeste*

4’ Octave Geigen

4’ Transverse Flute

2’ Harmonic Piccolo

16’ Bass Clarinet

8’ Clarinet

8’ English Horn

8’ French Horn*

8’ Festival Trumpet* (Ant)

8’ Tuba Mirabilis* (Ant)

8’ Chorus Tuba

Tremolo

Harp*

Antiphonal (unenclosed - floating) (prepared)

8’ Festival Trumpet*

8’ Tuba Mirabilis*

Chimes*

Antiphonal Pedal (prepared)

Pedal

32’ Contre Bourdon*

16’ Open Wood

16’ Major Bourdon

16’ Violone* (Gt)

16’ Minor Bourdon* (Sw)

8’ Principal

8’ Flute

8’ Stopped Flute

4’ Octave

4’ Harmonic Flute (Gt)

32’ Ophicleide*

16’ Trombone (1–12*)

16’ Waldhorn (Sw)

8’ Tromba

8’ Trumpet (Sw)

4’ Oboe (Sw)

7-bell zimbelstern

*= Digital Voices

A. E. Schlueter Pipe Organ Company, Lithonia, Georgia

Bethel United Methodist Church, Charleston, South Carolina

The history of Bethel United Methodist Church, like so many
Southern coastal churches, is unique and storied. Founded in 1797, it is the
oldest United Methodist church in Charleston on its original building site and
was the only Methodist church to remain open during the Civil War. The current
sanctuary, built in 1853, remains largely as it was originally built, with the
exception of the side balconies that were removed in 1886 after the Charleston
earthquake. Bethel Church took to heart John Wesley’s instructions to his
followers “to sing lustily, modestly, in time, and above all, to sing
spiritually,” and has made music a major part of worship. This
understanding of worship and music led the Board of Stewards in 1874 to write:
“after giving the subject full consideration, we are of the opinion that
an improvement in our singing is desired by a large number of our congregation
and that this can be obtained by the use of an instrument of some kind.”

The first keyboard instrument used at Bethel was a melodeon
that served the church from 1874 to 1887. In 1887 the church undertook a major
renovation to enlarge the chancel area with a choir loft and the installation
of a pipe organ. A chamber was built on the front of the church to house the
instrument. The new pipe organ was built by the Felgemaker firm of Erie,
Pennsylvania: 12 ranks over two manuals and pedal, mechanical action, with
hand-pumped bellows. The organ wind continued to be raised by human hands until
1921 when an electric motor was installed.

In 1934 the church donated the Felgemaker to Spring Street
United Methodist Church and contracted with Austin Organs of Hartford,
Connecticut for a new instrument of 14 ranks on three manuals and pedal. It
served the church well over the next 70 years albeit with a limited stoplist,
and was damaged by Hurricane Hugo in 1989. The organ was repaired but
consideration was under way to replace it with a larger instrument to meet the
choral and congregational accompaniment needs. The study for a new organ was
led by Greg Jones, organist/choirmaster of Bethel Church.

A. E. Schlueter Pipe Organ Company  was called in to consult on the possibilities for a new
instrument. Our firm is well acquainted with Charleston through previous
projects, and we were excited to again be working in this city. Working with
Greg Jones and the organ committee of Bethel United Methodist Church, our firm
found kindred spirits that were resolute in the need for an instrument that
could fully support the music program of this dynamic ministry. A strong desire
was to design an organ that harkened to the church’s previous
instruments.

While not working toward a specific style of organbuilding,
the specification was to incorporate the romantic orchestral nature of the
early-1900s American organs in conjunction with the chorus structure found in
instruments built in the later 1900s. In a sense we found an instrument
patterning itself loosely around the formative designs of early American
Classicism, which itself was influenced by many nationalistic organbuilding
styles. In keeping with this style, the English influence of American
Classicism was allowed to flourish in this specification in concert with the
romanticism of early twentieth-century Amercan tonal design. The church desired
an organ that could pay homage to the genius of Skinner and Harrison in a
collective whole that would please both.

A fundamental consideration for a new instrument was
placement. The organ chamber that was added in the late 1800s had no room for
additional pipework. The interior of the church did not allow any additional
encroachment by the organ. While we have enjoyed the challenge of designing and
building custom organ cases--indeed these often become an
instrument’s signature--our firm recognized and was sensitive to the
church’s desire that the front of the chancel remain visually unchanged.
The non-speaking façade pipes and casement had been built in the 1930s
and were both of sound construction. Therefore, the only possible solution was
to increase the size of the present organ chamber and utilize the old
façade and case. This presented the unique challenge of an exterior
change to the sanctuary. The rich history of this city and its architecture
have been protected by strict zoning and a board of architectural review. The
redesign of the church exterior would have to be minimal and follow the precept
of the 1887 architecture. Detailed plans were drawn up, and the City of
Charleston approved the request for a change to the church’s structure.

This new organ comprises three manuals--Great, Swell,
Choir/Solo--and Pedal. The eclectic stoplist pays homage to American and
English tonal concepts with a purposeful regard for the room acoustic and
worship style. 

Space considerations led us to design the third manual as a
combined Choir/Solo division. Careful stop choice, pipework design, and scaling
were considered, particularly at 4’ pitch. The division duality also governed
the choice of strings and reeds.

The tonal design and scaling of the organ began with
attending worship at the church and study of the current and previous organ
stoplists. We were resolute in the need for a complete chorus in each division,
strings, flutes of differing weights and textures, and orchestral and chorus
reeds. Located in the Choir/Solo is an expressive high-pressure reed battery
consisting of a hooded English Tuba, hooded Tromba Heroique, Clarinet, and
French Horn.  These stops are duplexed
between the Great and Choir/Solo divisions. 

In keeping with the congregregational accompanimental nature
of the organ, each division has been designed around an independent 8’
weighted principal chorus. The divisional choruses, while differing in color,
are designed to complement one to another as a unified whole. The mixtures are
lower pitched than what might be found in many contemporary instruments, and
were scaled and voiced to serve as a foil to the divisional chorus without
stridency.

The strings and companion flutes in the expressive divisions
are designed to build weightless accompaniment for choral work. The strings,
when taken as a whole, allow the organ to feature a divided string organ
division located between the Swell and Choir/Solo divisions, linked by means of
couplers. The usually diminutive Flauto Dolce and its companion Celeste were
designed to maintain a slight string edge evocative of an Erzähler as part
of the massed expressive string chorus.

Our experience servicing organs in this area taught us the
need for stability in the materials and action choices for a region that has
extremes of temperature and constant humidity. The chest action is
electro-pneumatic slider with all reeds on electro-pneumatic unit action. In
this manner flue and reed pipes are on an action that maximizes the speech
characteristics and quality for each type of pipe. It also permits the flues
and reeds to be placed on differing wind pressures and tremulants. The wind is
regulated with dual curtain valve spring and weighted reservoirs, providing
wind that is stable but without being stiff and unyielding.

An organ of this type, with its wind pressures and scales,
can build a very powerful ensemble, and it is very important that the organ be
under effective expressive control. This is accomplished with extra thick
expression shades that interlock. Expression motors provide over 40 stages of
travel for complete dynamic control. With effective expression, the solo reeds
are useful with the Great chorus--even the Solo English Tuba on 14”
of wind can be tamed for use as a Great chorus reed.

The organ is controlled from a three-manual drawknob console
built of American walnut and ebony. 
It includes features such as multiple level memory, transposer,
Great/Choir manual transfer, programmable ventil cutouts, programmable
crescendo and sforzando, record/playback capability, and MIDI.

The organ was tonally finished in our customary manner with
initial tonal work followed by several planned returns. In this manner it is
possible to be much more objective in tonal finishing and allows the organ to
be used in a service role to properly judge its weight, color and balance. The
organ was tonally finished under the direction of Arthur Schlueter III and
Daniel Angerstein with the assistance of Lee Hendricks, John Tanner, and Marc
Conley.

Since its installation, the organ has been used in a number
of community concerts and has served for performances in the Spoleto Music
Festival.

Quality organ building is never the result of one individual
but is the result of a team effort. A. E. Schlueter Pipe Organ Company wishes
to thank its staff including:

Art Schlueter, Jr., president

Arthur Schlueter III, vice president/ tonal and artistic
direction

John Tanner, vice president of production/tonal finisher

Howard Weaver, senior design engineer

Shan Dalton, office manager/administrator assistant

Bob Parris, executive assistant

Marc Conley, shop foreman/tonal finisher

Randy Wilson, assistant shop foreman

Rob Black, master cabinetmaker/CAD organ design

Michael Desimone, leather and small parts

Katrina Thornton, financial secretary

Joe Sedlacek, Sr., console wiring

Joe Sedlacek, Jr., organ assembly

Mark McCurley, wiring

Steve Springer, CNC operator/woodwright

Mark Montour, woodwright

Dustin Carlisle, organ assembly

Jeffery Chilcutt, organ assembly

Kelvin Cheatham, organ assembly

Kevin Cartwright, tuning and service

Bob Weaver, tuning and service

Othel Liles, electrical engineer

Patty Conley, organ assembly

Herb Ridgley, Jr. sales and support staff

Don Land, sales and support staff

David Still, sales and support staff

--Arthur Schlueter III

Bethel United Methodist Church, Charleston, South Carolina,

three manuals, 51 ranks

 

All manual stops 61 pipes, pedal stops 32 pipes, unless
otherwise indicated

 

GREAT (41/2” wind pressure)

16’           Double
Open Diapason (12 pipes)

8’               Open
Diapason

8’               Principal

8’               Violone
(49 pipes)

8’               Bourdon

8’               Harmonic
Flute (44 pipes)

4’               Octave

4’               Spire
Flute

22/3’     Twelfth
(prepared for)

2’               Fifteenth

V                   Cornet
(prepared for)

IV-V        Mixture
11/3’ (281 pipes)

8’               Clarinet
(Choir/Solo, prep. for Gt. Trumpet)

16’           Trombone
(Choir/Solo, non-coupling)

8’               Tromba
Heroique (Choir/Solo, non-coupling)

4’               Tromba
(Choir/Solo, non-coupling)

8’               English
Tuba (Choir/Solo, non-coupling)

                        Chimes

                        Great
to Great 4’

                        Tremolo

SWELL (flues 6”, reeds 61/4” wind
pressure)

16’           Lieblich
Flute (12 pipes)

8’               Chimney
Flute

8’               Geigen
Principal

8’               Viole
de Gamba

8’               Viole
Celeste TC (49 pipes)

8’               Flauto
Dolce

8’               Flauto
Dolce Celeste TC (49 pipes)

4’               Geigen
Octave (12 pipes)

4’               Koppel
Flute

22/3’     Nazard

2’               Flageolet

13/5’     Tierce

IV-VI      Mixture
2’ (300 pipes)

16’           Contra
Oboe (12 pipes)

8’               Trumpet

8’               Oboe

8’               Vox
Humana (separate tremolo)

4’               Clarion
(12 pipes)

                        Swell
to Swell 16’

                        Swell
Unison Off

                        Swell
to Swell 4’

                        Tremolo

CHOIR/SOLO (flues 6”, reeds 73/4”, Tuba
18” wind pressure)

16’           Gemshorn
(61 notes)

8’               English
Diapason

8’               Hohl
Flute

8’               Gamba

8’               Gamba
Celeste TC (49 pipes)

8’               Gemshorn

8’               Gemshorn
Celeste (49 pipes)

4’               Principal

4’               Traverse
Flute

2’               Piccolo

11/3’     Quint

III                  Choral
Mixture 2’ (183 pipes)

8’               Clarinet

8’               French
Horn

8’               Tromba
Heroique

16’           English
Tuba (49 notes, non-coupling)

8’               English
Tuba (non-coupling)

4’               English
Tuba (49 notes, non-coupling)

Choir/Solo (on tablet rail)                              

Choir/Solo to Choir/Solo 16’

Choir/Solo Unison Off

Choir/Solo to Choir/Solo 4’

Harp (61 notes, digital, on tablet rail)

Zimbelstern (9 bells, on tablet rail)

Tremolo  

PEDAL

32’           Untersatz
(32 notes)

16’           Principal
(12 pipes)

16’           Double
Open Diapason (Great)

16’           Gemshorn
(Choir/Solo)

16’           Bourdon
(12 pipes)

16’           Lieblich
Flute (Swell)

8’               Octave

8’               Open
Diapason (Great)

8’               Gemshorn
(Choir/Solo)

8’               Bourdon

8’               Chimney
Flute (Swell)

4’               Choral
Bass

4’               Cantus
Flute (Great)

III                  Mixture
22/3’ (Great)

32’           Contra
Trombone (32 notes, digital)

32’           Harmonics
(32 notes, wired cornet series)

16’           Trombone
(12 pipes, Choir/Solo)

16’           Contra
Oboe (Swell)

8’               English
Tuba (Choir/Solo)

8’               Tromba
(Choir/Solo)

8’               Oboe
(Swell)

4’               Clairon
(Choir/Solo)

Chimes (32 notes, Gt, on tablet rail)

Inter-manual couplers

Great to Pedal 8’                                                        

Great to Pedal 4’

Swell to Pedal 8’

Swell to Pedal 4’

Choir/Solo to Pedal 8’

Choir/Solo to Pedal 4’

MIDI on Pedal

Swell to Great 16’

Swell to Great 8’

Swell to Great 4’

Choir/Solo to Great 16’

Choir/Solo to Great 8’

Choir/Solo to Great 4’

MIDI on Great

Great to Choir/Solo 8’

Swell to Choir/Solo 16’

Swell to Choir/Solo 8’

Swell to Choir/Solo 4’

MIDI on Choir/Solo

MIDI on Swell